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The Enveloper

Got another couple of videos up. In this video - I use the EZ Drummer - Vintage kit and show how to Multi-Out as well.
But that is not what the video is about.
The video is actually about the Enveloper within Logic .... it's kinda like a Transient Designer type of doo-hickey.
The Transient Designer in S2 is way better - so if you have S2 - you might want to use the included Transient plugin instead of Logic's Enveloper.
Blah, blah, blah .... check it out if you want to get a giggle (maybe)

Re: The Enveloper

Of course, otek is gonna show up and throw some of his trademark anal-retentive commentary into the fray and spoil all the fun.

Otek doesn't have any sense of humor that we're aware of.

The Lookahead function: Logic has this on three plugins*, off the top of my head, the Noise Gate, the Multipressor and the Enveloper. Simply put, what it does is it allows the plugin to "look ahead" on the audio and adapt itself to the program material. The problem with this - as Waterboy pointed out - is that the lookahead function is not accounted for by Logic's Plugin Delay Compensation, and therefore, will cause a delay on the channel it's inserted on. The workaround may be to set the channel delay to show milliseconds and pull back the channel in question by the same amount.

The Attack control: Sets how much of the attack transient is to be affected by the attack gain control. The reason why there wasn't much of a difference in Waterboy's example, is because the preset he chose only had a 4 millisecond attack time - generally too fast for a kick drum. Turn up the attack time to around 15 or 20 milliseconds, and you will get a huge effect on the kick (and you won't have to EQ it to get that metal click happening!).

The enveloper plugin is a lot of fun, and quite useful - in terms of the layout it's very similar to the SPL (hardware) Transient Designer, but has a few more features (lookahead being one, independent attack and release times being another). It's actually not a compressor per se - it works much like the ADSR (Attack/Decay/Sustain/Release) filter on a synthesizer, in that it controls the dynamics of various parts of the wave form independently. You can also set it to only process sounds above a certain level, using the threshold control.

otek

*I believe the Adaptive Limiter has a lookahead function too, but it's fixed, giving the plugin a constant latency.

"Tube color is not the 'thing'. Why would the most linear amplifying device have a color?" - Jonte Knif

Re: The Enveloper

Praise Jeebus, you're smart!

That is some really deep stuff you just said. Not to mention - I didn't know about most of it (there's a shocker, eh?) So I learned something - and (ultimately) that is why I do these videos. To share the wealth. thank you for that.

Re: The Enveloper

I wouldn't call it deep perhaps, but it does make those plugins a hell of a lot more fun to deal with.

Ever checked out what happens to the tone of, say, a kick drum if you displace it by even one millisecond in relationship to the overheads?

HUGE difference, in the vast majority of cases.

This is why this shit matters. You may not notice 1 ms on a lone bass track in relation to everything else going on in a typical pop mix (and a lot of players are a little ahead of the beat anyway ), but try it on the individual drum mics and phase coherency is gonna go to hell in a hand basket.

I have a workaround for using gates on drums which gives me lookahead as well as a few other boons. Let's say you want to gate a kick drum. A lot of times, what with the big wave form and the fast attack you need for a snappy kick sound - not to mention if there's false hits, leakage and/or low end rumble - you'll get all sorts of annoying clicks and chatter from the gate, not to mention a wimpy tone.

The way I solve this is:

1) Copy the kick to a new track.

2) Remove that track's bus assignments. It should not make its own noise anywhere in the mix.

3) Strip silence the copy. Run through the track and make sure the kick is left in everywhere, that the regions start in the right places, and that all the shit you don't want is left out.

4) Grab the copy and move all regions a few ticks earlier - that means to the left in the arrange window.

5) Strap a noise gate on the original kick track.

6) Set the sidechain on this noise gate to react to the copy. Dial a fairly low threshold, and shape the release time and hysterisis so that the gate closes in a natural sounding fashion. You may even want to keep the range control at a mere -15 dB or so - this way you control the bleed but don't kill it, which sounds one heck of a lot more natural.

7) Play the track, and boom! - instant and foolproof gating, with the entire character of the kick drum intact, and not one iota of latency. This trick also kicks ass on leaky tom tracks.

otek

"Tube color is not the 'thing'. Why would the most linear amplifying device have a color?" - Jonte Knif

Re: The Enveloper

The Lookahead function: Logic has this on three plugins*, off the top of my head, the Noise Gate, the Multipressor and the Enveloper. Simply put, what it does is it allows the plugin to "look ahead" on the audio and adapt itself to the program material. The problem with this - as Waterboy pointed out - is that the lookahead function is not accounted for by Logic's Plugin Delay Compensation, and therefore, will cause a delay on the channel it's inserted on. The workaround may be to set the channel delay to show milliseconds and pull back the channel in question by the same amount.

Yeah, that's a quite common error plug-in noobs do when they develop plugs because you can't change the reported latency while running, it's only reported once during startup.

The simple fix is to report the maximum possible latency during startup and of course use this value even when you don't do lookahead.

Mac.

Mac
Don't be worried about your anosognosia.

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but how good you are at your worst.